I molto moderato – in memoriam Anton Bruckner.II quasi scherzando – Hommage à György Ligeti.III Trio: adagio.IV "Finale": tema von variazioni.The four pieces for ensemble represent a compacted interrogation of a formal model that has been central to the interaction of large-sized instrumental bodies for centuries – the symphonic form.An interrogation of the symphonic formal model in four pieces, however, not a symphony.The harmonic organization of this piece is, like in my other recent works, based on fields of partials that allow me to take up formal categories neglected in the 20th Century such as fifths-relations as well as other natural pitch and interval relations and modulations (from one spectrum to another), without regressing into the use of major/minor tonality.Further potential categories of symphonic form (i.e. categories such as the concept of recapitulation, traditional definition and significance of certain formal sections or the aspect of equivalence of proportions between formal sections) are rather hinted at.Abstract forms – in flux, fluidized, fluent.Those categories might, for instance, evoke in my first movement the allusion of a sonata form.The last movement in no way fulfills the expectations one might have for a finale. Here, distorted spectra (e.g., multiphonics), complex residual sounds, compressed and stretched spectra, noise sounds etc can be found. My interrogation of a form that has been dominant for centuries ends with noise.